David Hinds: On Tour, On New Album, on United Front for Africa
Interview and Photos by Jan Salzman / Edited by M. Peggy Quattro
July 14, 2008 – Malibu, CA – Steel Pulse has been one of my favorite bands for about 25 years. In 1985, the popular band from Birmingham won the coveted Grammy award for their album Babylon The Bandit. More Grammy nominations came for Victims, Rastafari Centennial, Rage and Fury, Living Legacy, and African Holocaust. Steel Pulse has recorded 16 albums throughout their illustrious career.
David Hinds, central songwriter and lead singer, hails from Birmingham, England. His music has always been tinged with political opinions; he makes his stand in the name of justice. There are also spiritually uplifting songs and deep love songs. This year celebrates 30 years since the release of their first album, Handsworth Revolution, in 1978. David is eloquent, kind, and remains boyishly cute after all these years. Together with his associate, vocalist and keyboardist Selwyn Brown, they form the core of Steel Pulse. I caught up with David Hinds recently at the Malibu Inn. After a tightly packed show, he took time to answer a few questions. Here is my interview with David Hinds: Continue reading →
UPDATE 2020: Julian “JuJu” Marley is currently in Jamaica during the COVID-19. He is keeping busy with his music, his “JuJu Royal” CBD line, & supporting people globally as we go through this pandemic together. Touring to support his latest Grammy-nominated album, As I Am, is temporarily on hold. So instead, Julian streams his campfire sessions where he sings and plays guitar.
In Feb., Julian participated in the opening of Trench Town’s Cornerstone Learning Center, founded by the Marley brothers and the Ghetto Youths Foundation. In April, he was part of Jamaica’s Telethon to raise funds for the first responders. He talks about the new music he is producing now, which highlights the 80s Afrobeats influence he enjoyed while growing up in multi-cultural London.
To watch & listen to Julian Marley’s latest single “Fly,” a tribute to his daughter who passed away in 2019 from cancer, go to the link at the end of this interview ↓↓↓♥
By M. Peggy Quattro
Miami, FL, 2011 – Julian Ricardo Marley, a seasoned Roots Reggae performer, is a multi-talented musician, writer, and singer. Born June 4, 1975, in London, Julian is the only British-born Marley son. He spent summers with his extended family in Kingston, where he tuned in to Rastafari and became immersed in the Marleys’ musical environment. A self-taught musician, Julian is skilled at guitar, drums, bass, and keyboards. Since the 1996 release of his debut CD Lion in the Morning, Julian “JuJu” Marley has traveled the world extensively to perform alongside his talented brothers. The 2003 CD Time and Place, and 2009’s Awake, have resulted in a large legion of loyal fans that attend his solo performances. At the invitation of the Jamaican government, Julian Marley and the Uprising band represented his adopted country and performed at the historic 2008 Beijing Olympics.
Julian spends time between London, Kingston, and Miami; much time is devoted to working and recording in the family-owned Lions Den studio. On a recent mini-Florida tour, I caught up with Julian following his casual and intimate performance at Pineapple Groove in Delray Beach, Fla. Continue reading →
By M Peggy Quattro (written in 2000 for the release of Definitive Collection)
Garnet Silk, the young singer/songwriter who died in a horrific fire at the age of 28, was one of the brightest stars to ever shine in the Reggae galaxy. During his short, illustrious career, Garnet Silk was hailed by many as “the next Bob Marley.”
After five years of lewd and rude Dancehall lyrics, Garnet ignited the stagnant music arena with Roots Rasta music. He is credited as the artist most responsible for the conscious and spiritual resurgence of early 90’s Reggae. His profound lyrics and distinctive vocal styling—a throwback to the poignant messages of the Marley era—captured an international audience.
From 1992 to 1994, Garnet Silk released a multitude of songs that soared up Reggae charts and touched the lives of those who heard them. The long-awaited Big Beat/Atlantic Garnet Silk:TheDefinitive Collection is a celebration of the memory—and a tribute to the music—of this legendary artist.
Recorded at Tuff Gong and Couch Studios in Kingston and mixed at Kariang Studio in Ocho Rios, this two-CD set features 20 songs recorded and/or re-recorded over a three year span. Garnet’s silky voice is enhanced by the assemblage of Jamaica’s finest musicians—Sly & Robbie, Tyrone Downie, Earl “Wya” Lindo, Mikey Boo Richards, Earl “Chinna” Smith, Mikey Chung, Dean Fraser, and Sticky Thompson, to name a few. Garnet insisted that real instruments were to be used and all the musicians were to be in the studio at the same time. “Like the Wailers,” said Tony Chin Loy, co-founder of Kariang Productions and co-manager, “the old fashioned way—the Bob Marley way.” Chin Loy revealed that when Sly Dunbar came to do the project he had not played a real drum kit in five years!
South Florida Sends Cedella Marley Booker Home: A Loving Tribute in Word, Song, and Dance
By M. Peggy Quattro
April 23, 2008, Miami, FL –
One week following Mother Booker’s journey to Zion, hundreds in the South Florida community joined hands and hearts at a memorial service inside Miami’s beautiful Garden House at Fairchild Tropical Garden. The lush botanical garden is only minutes from Ms. B’s home, a large residence on a sprawling estate. In the late ‘70s, son Bob Marley bought the home in Pinecrest for his mother, and it is where Ms. B lived a life surrounded by her children, grand and great-grandchildren, and the home where, on April 8, she passed on in her sleep, surrounded by her loving family.
The Booker/Marley family, in paying tribute to their matriarch, also paid tribute to her devoted friends and fans when they presented an exquisite memorial service that honored the “smiling woman of song.” The setting was amazing and beautiful, from the gorgeous green of the garden and tropical trees to the touches of Africa and Rastafari that adorned and decorated the intimate Garden House. The presentation was fit for a queen, and in South Florida’s eyes and hearts, that is exactly who Cedella Marley Booker will always remain. Continue reading →
On Sunday, May 11, 1986, the fifth anniversary of Bob Marley’s physical departure from this earth, Tuff Gong recording artist Nadine Sutherland was the only Reggae artist in a Marley Memorial/Mother’s Day Soca/Reggae Spectacular at the Carillion Hotel, Miami Beach. From the moment that she entered the spotlights, it was obvious that the 18-year-old teen queen is already a veteran of the stage, is overflowing with confidence and thoroughly enjoys herself when performing.
Fittingly, Nadine was the only performer that night to pay tribute to Brother Bob in word and song. She crowned her set with Marley’s “No Woman, No Cry,” which she said was especially for her mother Beverly Sutherland, who was present in the audience for that Mother’s Day show. I spoke with Nadine after her very well-received performance.
JABU: What does Bob Marley mean to you?
NADINE: ‘He means a lot’ would sound like a cliché, seen. But the first thing I can remember which played a very important part in my life was the first time I went to (Tuff Gong) studio. I was standing and singing and he came in and said, ‘Give the youth a seat nuh man.’ And he was the one who went for the seat and told me to sit down. Can you imagine how I felt when this great man, this big Reggae superstar went for a seat and made me sit down? It was nice. And I’ve seen him on other occasions and he was always very nice and cool and I heard that I was one of his favorite singers. He means a lot, the little that I’ve known. I’ve grown very much to like him.
I’ve seen [Bob Marley] on other occasions and he was always very nice and cool and I heard that I was one of his favorite singers.
JABU: How do you manage to fit in the entertainment business with your schoolwork?
NADINE: Well, it’s not a thing that I manage. It has to be done and it just happens and it is done. Right now I’m at EXED Community College doing business administration first year.
JABU: What kind of live performance have you done since the start of ’86?
NADINE: I did two concerts in Bermuda in February (with the Ital Foundation band) and then I went to Jamaica and did a (Tuff Gong) concert in Negril. Then I did a small concert at CAST (College of Arts Science and Technology) for Winnie Mandela. That was a good concert. And here I am in Miami now.
JABU: What was the reception like in Bermuda considering that your records are not really distributed there?
NADINE: I was surprised you know, because the first night, people who were Reggae fans, who listen to the radio and hear my music, they came out. And the second night the crowd at the ‘Spinning Wheel’ doubled the first night.
JABU: OK. So what kind of studio work do you have on line?
NADINE: Right now I’m not working on anything because of school, but I think that during the summer we’ll start working seriously on a new 45.
JABU: Who manages you and produces you records?
NADINE: My management is my parents and the producer is between Willie Lindo and Sangie Davis.
JABU: You’ve had a lot of good songs written for you. Any chance of you going into songwriting yourself?
NADINE: To tell you the truth, I’m very good at poetry. I can write very good poems. I’ve written two songs but I haven’t recorded them, no one knows about them. I think I have an inferiority complex about my music. When you want to write something I know you have to take it step by step. If I’m putting out something I want the standard to be very very good, and right now I’m in the learning stage of writing music. So I guess, when you hear the BOOM song come out, you’ll know that I’ve graduated in the writing field.
JABU: Do you play any instruments?
NADINE: Well actually, I took the piano. I wouldn’t say I play. I know the keys and everything, so I took it. I can help myself. And the recorder, I learnt to play it at Andrews.
JABU: Is this your first show in Miami?
NADINE: No, it’s my second show. My first show was in 1982. It was a Bob Marley Memorial too, with the Tuff Gong posse – Melody Makers, Rita, the I-Threes and Wailers, and everybody.
JABU: How long have you been singing professionally?
NADINE: Six years.
JABU: In terms of knowing what it takes to be a performing and recording artist, would you say you’ve still got a lot to learn or that you’ve covered most of the basics?
NADINE: As always, everybody learns something new every day and I think I’ve got a lot more to learn. Nuff nuff more because I’ve been protected from certain things in the music business. As you notice, I always have parents and my family around me. So certain things in the business that people know about, I just hear about them. So there is more to learn, more to experience. I’m still in my youth stage.
JABU: Do you think it’s anymore difficult for you as a young female artist, as compared to, say Ziggy Marley, Junior Tucker, or any other young male artists?
NADINE: Yes, it’s different. People tend to watch me more, and women have certain standards to live up to. And being a singer, especially a young one, everybody seems to think something immoral. That’s one of the problems I can’t face up to. Because when I hear the rumors ‘bout me and I know they’re untrue, it kind of hurts me and I know I’m not like that. The next thing again, a young man will be able to tour, ‘cause I’m a girl, I have to have some guardian or somebody.
…women have certain standards to live up to…being a singer, especially a young one, everybody seems to think something immoral.
JABU: Thank you very much and all the best.
NADINE: Yeah, it was nice talking with you, Jabulani.
Chances have proved to be right for Reggae lovers in North America to get an opportunity to see the Tuff Gong teen queen in action during the summer of 1986. With negotiations finalized for two Bunny Wailer shows in the U.S. and maybe England, Nadine has been included in the Solomonic package along with Leroy “Heptones” Sibbles and the 809 Band. Then again, there’s a possibility of a six-week summer tour of North America by a group of Tuff Gong artists. Either way, one thing is certain, Nadine Sutherland is internationally hitbound.
Sly & Robbie: Reggae Disciples Standing Up For Reggae
Words by M. Peggy Quattro – Aug. 30, 2008 (Listen to the Audio below!)
With careers spanning more than 30 years and hundreds of thousands of recorded tracks, SLY and ROBBIE – aka the Riddim Twins – are still standing up for reggae. Equal partners in the studio or on the stage, these world-renown artists, performers, and producers represent reggae to the fullest. Fueled by, what Robbie calls “God-power,” this ageless duo is having a seriously fun time doing it.
I caught up with Sly and Robbie, long-time friends and colleagues, after their rousing performance with reggae rock dubsters Simply Stoopid, Internet sensations hailing from southern California, and Hawaii’s popular threesome, Pepper. These groups are young, energetic, and tour 250+ days a year. For 10 years, these reggae rockers have bucked the system and achieved phenomenal success by using the Internet as their medium. Starting out by performing for 50, 100, then 500+ faithful fans, both groups now sell their original music online and draw thousands of loyal fans to their wildly entertaining live performances.
With the release of “Mind Control,” the debut chart-topping CD from the second son of Reggae’s original lion, Stephen Marley raises the bar and sets the standard for the future of Reggae music. Not bothered by the inevitable comparisons of looks and sound to his famous father, Stephen is honored by the resemblance and proud to deliver the same message of love, unity, and awareness that made Bob Marley a household name.
Personally, this is one CD I cannot listen to enough. From first hearing the title track, you know that this is going to be a breakthrough album. Each song that follows is a musical journey that permits the listener to become intimate with its creator. Stephen is fearless in displaying his political and social consciousness, as well as exposing a personal vulnerability seldom witnessed in Reggae music. Continue reading →